How ‘Sinners’ Cinematographer Pulled Off That Surreal Juke Joint Music Sequence and Made History By Shooting on 65mm Imax Film

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Warning: Plot Spoilers Ahead: This narrative reveals critical plot points from Ryan Coogler’s current film “Sinners,” which is now showing in cinemas.

Autumn Durald Arkapaw recalls clearly the moment Ryan Coogler shared the screenplay for “Sinners” with her.

On January 2024, a day before she was due to begin filming “The Last Showgirl,” Coogler emailed her, asking for her opinions on the script, which he’d mentioned held a special significance for him. That evening, she sat down and finished reading the entire script in one go.

Arkapaw was astonished. I hadn’t expected it to be a period drama or for Michael B. Jordan to portray twins,” Arkapaw said to EbMaster. “I wrote him an extensive email about my impressions. He often jokes with me, because these days, I find it challenging to read something in one go, but this script was so captivating that I couldn’t stop reading.

In the midst of the ravenous and sensual vampires in “Sinners,” there’s a tale rich with cultural depth and historical significance, where blues music serves as the heart of the film. The setting is 1930s Mississippi, where twin characters named Smoke and Stack, portrayed by Jordan, arrive back in the South and decide to establish a juke joint. Their cousin Sammie, played by Miles Caton, who is both a young sharecropper and the son of a pastor, has a deep love for music, carrying a 1932 Dobro Cyclops guitar everywhere he goes. The twins persuade Sammie to perform at their gathering. However, his melodies don’t only appeal to those seeking entertainment; they also draw a dark and malevolent presence lurking within the town.

Arkapaw agreed to the project, but there were no specifics provided, such as Coogler’s preferred filming style. Originally, it was intended to record using 16mm film. “It was a series of conversations,” Arkapaw explains. “The studio contacted Ryan and inquired about large-format filming. He then reached out to me and suggested we might want to delve into this option.

Arkapaw initially phoned FotoKem for a conversation about filming with celluloid. “We conducted an experimental shoot where we examined the possibilities of Imax and utilizing either a 15-hole or a 65-hole film frame. He brought up ‘The Hateful Eight’ as a reference, envisioning grand vistas in his mind for this project. We subsequently ventured to the desert in Lancaster, watched some clips from ‘The Hateful Eight’ and ‘2001: A Space Odyssey,’ along with some work by Andrew Orin, all of which were 70mm. Ryan leaned forward and exclaimed, ‘This is what I’ve been lacking.’ We conducted our test, and we knew it was a done deal after that.

In the gripping drama “Sinners,” a transcendent instant isn’t about the intense battle against vampires, but rather when Sammie performs with such fervor and soul that the dance floor is swarmed by tribal dancers, electric guitarists, hip-hop DJs, and more. Arkapaw’s camera deftly navigates through the musical euphoria, blending the past, present, and future of Black music and dance seamlessly, as seen in “The Surreal Montage” sequence during production.

Arkapaw and Coogler discussed strategies for executing the scene effectively. A substantial amount of thought, practice, and collaboration with the visual effects team was required to decide how to structure the sequence. As Arkapaw explains, “This part of the sequence is based in reality, but then it veers off and ascends to the rooftop before burning away and returning to a surreal scene. It seamlessly transitions into the introduction of three robust characters, after which we’re back in the main story.” He also mentions that there are a total of five shots in this sequence.

She describes that each of the three shots within the juke joint are filmed using Steadicam on 15 perf Imax (70mm film rotated 90 degrees), as she explains. Additionally, there’s a mix of visual effects (VFX) where the shot ascends to the roof, which was inspired by a burning roof plate we captured during the last night of principal photography. This then transitions into an exterior nighttime shot that was filmed using a 50-foot techno crane as it pulls back, revealing a nighttime exterior scene where people are dancing with the illusion of a burned-down mill in the background. The camera also shows the three vampires – Remmick (Jack O’Connell), Joan (Lola Kirke) and Bert (Peter Dreimanis) – watching from afar.

She mentions, “That sequence has numerous aspects – figuring out how to perform it, as well as historical layers concerning our roots, music, culture, and origins. It was enjoyable to work on, and in the end, it turned out fantastic because it holds significant meaning for various individuals. This is what makes it an excellent topic for discussion.

Production designer Hannah Beachler played a crucial role in making the sequence feasible by constructing an authentic-feeling environment. As Arkapaw explains, “It’s essential that when an actor steps onto the set, they aren’t confronted with a lot of film equipment they need to navigate around. These sets should feel like genuine spaces.” According to him, this contributes to more convincing performances and establishes a suitable atmosphere for everyone on set.

Hannah Beachler, the production designer, was key in executing the sequence by creating a true-to-life setting. Arkapaw notes, “It’s vital that when an actor enters the set, they don’t encounter a lot of film equipment they have to maneuver around. These sets should appear as real spaces.” He believes this leads to improved performances and fosters a favorable ambiance for everyone on set.

From my perspective, when it came to illumination, I predominantly opted for lighting from above. This approach, as I noted, provides us with a greater degree of camera mobility, particularly in such a wide format. John T. Dykstra, Beachler’s counterpart, additionally hung lanterns that served as additional light sources, contributing to the genuine and moody atmosphere we aimed to create.

Arkapaw finds the scene profoundly moving because of its symbolism. “As the camera pans down, you witness the remnants of a charred mill. Despite its destruction, the people remain resilient, continuing to dance and sing. To me, this signifies that nothing can truly be taken from us, and I see a reflection of my own family’s history in it. It’s incredibly meaningful to have been involved in something so significant.

From my perspective as a movie critic, I must commend director Coogler for his commitment to authenticity when portraying Jordan’s dual role as identical twins in this film. He preferred to keep the story rooted in reality by utilizing traditional methods such as split screen and minimal application of face replacement technology. As Arkapaw explains, the challenge was dissecting the script to determine which scenes could be shot using split screen, which could be done with in-camera work, and which required the halo rig. However, once on set, the pressure primarily fell on Michael, who had to perform multiple takes within a specified timeframe. This was particularly challenging when filming exterior shots, as the sun’s movement added an extra layer of complexity.

Arkapaw, known for being the first woman to shoot a 70mm feature film, had a conversation with fellow cinematographer Hoyte Van Hoytema, who worked on Christopher Nolan’s “Oppenheimer” using the same format. Van Hoytema encouraged her by saying, “Treat it like you just swiped it,” which essentially means, “Don’t let the size of the format and cameras intimidate you or make you think you can’t use it as effectively as you usually do.

Arkapaw realized his approach was valid; the format proved flexible rather than restrictive. “We mounted it on cranes, Steadicam, and used plenty of handheld shots,” she explains. “We simply told our story in the most effective way possible. Now I comprehend what Hoyte meant when he said, ‘It’s all there for you to use.’ It’s more exhilarating, in fact, if it’s larger and heavier.

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2025-04-21 00:47